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CATALOGUE OF ENGRAVINGS 
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CATALOGUE OF ENGRAVINGS 
IN THE PRINT ROOM OF 
THOMAS FORTUNE RYAN 


COMPILED BY 


FITZROY CARRINGTON, A.M. 


858 FIFTH AVENUE 
NEW YORK 
1928 


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LIST OF ENGRAVERS 
REPRESENTED IN THE COLLECTION 


BENOIT AUDRAN, THE ELDER 
FRANCESCO BARTOLOZZI 
MAURICE BLOT 

JACQUES COUCHE 

JEAN DAULLE 

NICOLAS DELAUNAY 

AUGUSTE BOUCHER-DESNOYERS 
LOUIS DESPLACES 

PIERRE DREVET 
PIERRE-IMBERT DREVET 
GERARD EDELINCK 

FRANCOIS FORSTER 

HENDRIK GOLTZIUS 

ISIDOR STANISLAS HELMAN 
DESIRE ACHILLE LEFEVRE 
JOHANN AUGUST EDUARD MANDEL 
ANTOINE MASSON 

RAPHAEL MORGHEN 

JOHANN GOTTHARD VON MULLER 
ROBERT NANTEUIL 

ANTONIO PERFETTI 

GEORG FRIEDRICH SCHMIDT 
SIR ROBERT STRANGE 

PAOLO TOSCHI 

CORNELIS VISSCHER 

JOHANN GEORG WILLE 


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CATALOGUE 


BENOIT AUDRAN, THE ELDER 
1661-1721 


Tue second son of Germain Audran. Born at Lyons 1661. He 
received his first instruction in engraving from his father, 
but had afterwards the advantage of studying under his 
uncle, the celebrated Gérard Audran. His style like that 
of Gérard, is bold and clear; his drawing of the figure is 
very correct; and there is a fine expression of character in 
his heads. He was received into the Academy in 1709, and 
was appointed Engraver to the King, with a pension. He 
died in 1721, in the village of Ouzouer, near Lens. 


1 JEAN Baptiste COLBERT 

After Claude Lefebvre 

In 1663 Lefebvre was received a member of the Acad- 
emy, on which occasion he painted the portrait of 
Colbert engraved by Audran. 

Colbert was born at Rheims, August 29, 1619. Died 
at Paris, September 6, 1683. He entered the service 
of Cardinal Mazarin in 1648, and rose to be Inten- 
dant. Upon the death of the Cardinal in 1661, Col- 
bert was appointed by Louis XIV Minister of Fi- 
nance, a position which he held until his death. As 
Colbert was thoroughly expert in all the branches 
of the government and particularly in the depart- 
ment of finance, he became a man absolutely neces- 
sary in the condition of confusion which Cardinal 
Mazarin, Superintendent Fouquet, and still more, 
the misfortunes of the time had placed the resources 
of the country. Louis XIV caused Colbert to work 
secretly with himself with a view to getting a clearer 


[7] 


idea of the condition of affairs. Colbert, in conjunc- 
tion with Le Tellier, then Secretary of State, ruined 
Fouquet; but he was justified by the improvements 
which he made in the finances of the kingdom. He 
became Controller General in 1664. 


FRANCESCO BARTOLOZZI 
1725-1815 


Tue son of a goldsmith of Florence, where he was born in 
1725. He was instructed in drawing by Ferretti at Florence, 
and learned the art of engraving from Joseph Wagner at 
Venice. His first productions were some plates after Marco 
Maricci, Zuccarelli and others, engraved whilst he was in 
the employment of Wagner. But the theatre destined for 
the display of his talents was England, where he arrived 
in 1764. Soon after he was appointed Engraver to the King, 
with a salary of £300 a year, and in 1768 he was made a 
Royal Academician. Few artists have reached so distin- 
guished a rank in their profession as Bartolozzi, and that 
in every species of engraving. His etchings, in imitation 
of the drawings of the most eminent painters, admirably 
represented the spirit of the originals. In 1802 Bartolozzi 
accepted the post of Director of the National Academy of 
Lisbon, where he died in 1815. 


2 WiLi1AM Murray First Eart oF MAns- 
FIELD 
After Sir Joshua Reynolds 
Tuer 1782 
Proof before name of personage; with coat of arms, 
names of painter and engraver and the publication 


line. 
[8] 


‘ 


Born at Scone, 1705; fourth son of Lord Stormont; 
educated at Westminster and Oxford; called to the 
Bar, 1731; Solicitor-General and M.P.., 1743; Attor- 
ney-General, 1754; Lord Chief Justice of England 
and Baron Mansfield, 1756; created an Earl, 1776. 
Died, 1793, aged 88. 


3 Tue Ricut Honorasre Witriam Pitt 

After Gainsborough Dupont 

Tuer 1867 

Born at Hayes, Co. Kent, 28th May, 1769; second 
son of the Earl of Chatham, who foresaw his future 
greatness; M.P. for Appleby, 1781; Chancellor of the 
Exchequer the following year; and Premier from the 
close of 1783 to the commencement of 1801; again, 
from May, 1804 to his death, on 23rd January, 1836. 


MAURICE BLOT 
1753-1818 


“In the Louis XVI period there are a number of engravers 
who may be compared to the Watteau engravers of the 
Louis XV. Maurice Biot may be mentioned among these 
men. He engraved but one important portrait: The Dauphin 
and Madame Royale, after Mme. Vigée-Lebrun.”’ 


T. H. Toomas 


4 Monsizur Le DAupPHIN ET MADAME, 
FinuE pu Roi 
After Mme. Vigée Le Brun 
Portalis and Béraldi 5 


[9] 


JACQUES COUCHE 


1759-* 
Born at Abbeville. A pupil of LeVasseur and Aliamet, 
and subsequently appointed engraver to the Ducd’Orleans. 
The date of his death is not known. 


5 Les Sasots 


After Lavreince 
Béraldi 1 


6 La Coquette Fix#E 
After Fragonard 
Béraldi 4 
Proof before the dedication 
Etched by Couché, finished in line-engraving by Dam- 
brun. 


JEAN DAULLE 
1703-1763 
‘*Lixe Pierre Drevet, Dauti& owed his success to Rigaud 
. .. . Daullé’s real start came when he came into the no- 
tice of Rigaud. Rigaud had become dissatisfied with the 
Drevets, and took up Daullé in their place. He supervised 
his work, gave him plates to engrave, and in 1737 succeeded 
in having his new protégé elected an Agréé to the Acad- 
émie.”’ T. H. Toomas 


7 CLauDE DesHAvEs GENDRON 
After Hyacinthe Rigaud 
Deligniéres 24 Andresen 28 Béraldi 61 
Proof before all letters. First edition, before the 
word Nav to the right 
A famous oculist of his time. 


[ 10 ] 


““Trés-belle gravure, harmonieuse de tons, d’un effet 
réellement artistique; la figure, qui se détache bien, 
est modelée avec une finesse et une perfection re- 
marquables; le velours du manteau et de la toque est 
parfaitement rendu. C’est bien 1a certainement un 


fe. 39 


des meilleurs portraits gravés par Daullé. 
Henri BERALp1 


8 CATHERINE MIGNARD COMTESSE DE 
FEUQUIERE 
After Pierre Mignard 
Béraldi 57 
Daughter of the painter, Pierre Mignard, whose por- 
trait is seen at the left. 

“The portrait of Mignard’s daughter was finished in 
1735 and was recognized as a chef-d’ceuvre even by 
Daullé’s contemporaries in engraving, such as Gau- 
cher, who admitted that the resemblance of the two 
heads, the sentiment, the purity, the grace, the har- 
mony, and the technique were all admirable. And 
indeed one must admit that this print was a good 
augury for the future of the engraver, and that he 
had, almost at his first attempt, arrived at a degree 
of perfection which he could hardly surpass."’ 


Baron Rocer PorTALIs 


NICOLAS DELAUNAY 
1739-1792 


‘‘Born in Paris, 1739, DELAuNay became at an early age 
the pupil of Lampereur and from the year 1770 until his 
death in 1792 he occupied a place among engravers second 
to none. In his work we find an almost incredible perfec- 
tion of technique; the charm of his engravings is irresisti- 
ble, all that was delicate and refined in the period is here 


[11] 


set down, and no trace of aught that is not light and care- 
less is discernible in the charming frivolity of his expres- 


bd 9? 
sion. LAWRENCE AND DIGHTON 


“An expert in the command of light, Delaunay was also 
a singularly even engraver, and one always displaying con- 
scientiousness of treatment combined with great facility 
of execution. For him difficulties did not exist, as may be 
realized from an examination of his treatment of many a 
scene which, at first sight having the appearance of sim- 
plicity itself, is really the result of careful and masterly 
execution. , 

“Delaunay has left many admirable renderings of the 
work of Baudouin and Lavreince. Le Carquois épuisé, is a 
veritable masterpiece. La Consolation de l’Absence bears fur- 


ther testimony to this engraver's talent.”’ R sr pq Nevin 


g Le CuiFFrRE D'AMOUR 
After Honoré Fragonard 
Béraldi 9 
First State 
Proof before all letters 


10 La CONSOLATION DE L’ ABSENCE 

After Lavreince 
Béraldi 24 

‘Four of his engravings are among the finest of the 
whole period, and they are all after Lavreince—Le 
Billet Doux, La Consolation de L’ Absence, L’ Heureux 
Moment, and Qu’en dit I’ Abbe. In these four prints 
technique has said the last word, the drawing in all 
its details is exquisite, and their charm must be irre- 
sistible even to those—and there are many—who 
deny anything of real value to the whole of this 


9° 
school. LAWRENCE AND DicHTON 


[12] 


AUGUSTE GASPARD LOUIS 
BOUCHER-DESNOYERS 


1779-1857 


One of the most eminent of modern French engravers. 
Born in Paris in 1779. Died there in 1857. 

He appears to the best advantage in his transcripts of 
the works of the ancient masters, especially Raphael, 
whose characteristics he renders with the greatest truth 
and skill. His masterpieces are the Belle Jardinitre of Raphael 
and the Vierge aux Rochers of Leonardo da Vinci. 

““AuGust BoucuEr-DesNoYErs(1779-1857,) is best known 
as the engraver of Raphael’s Madonnas. Both his engraved 
works and his writings show that the ‘divine painter’ was 
constantly in his thoughts and that he made a profound 
study of drawing to qualify him to the great undertaking 
which extended over the entire fruitful period of his career.”’ 


Wixuis O. CHAPIN 


1z La VierGe#, piTE La BELLE JARDINIERE 
After Raphael 
Béraldi 3 
Open letter proof. 


12 La VizERGE AUX ROCHERS 
After Leonardo da Vinci 
Béraldi 18 
Open letter proof, with the stamp of two antique 
heads. 
“Une des plus belles planches de Desnoyers. Les pre- 
mieres épreuves avec la lettre portent le cachet aux 


deux tétes. Henri BéRALDI 


[ 13 } 


LOUIS DESPLACES 
1682-1739 


13 MarGuERITE BécAILLE, WiDow oF Max- 
IMILIEN LTITON 
After Nicolas Largilliére 

““Desplaces nous a laissé quelques specimens de por- 
traits qui montrent qu "il aurait remarquablement 
réussi en ce genre s'il s’en était davantage préoccupé. 
Son portrait de Marguerite Bécaille, Veuve Titond’ apres 
Largilliére, est fort beau.” 
HENRI Beat 


PIERRE DREVET 
1663-1738 
Born at Loire, 1663; died at Paris, 1738. He studied first 
under Germain Audran at Lyons, and later removed to 
Paris, where he received instruction from Gérard Audran. 

In 1696 he was appointed Engraver to the King, and 
in 1707 was made an Academician. His portraits are well 
drawn and very highly finished. His representation of dra- 
peries, lace, silks, ermine, carved wood, and all other ac- 
cessories and redundancies, is as near perfection as any 
engtaver ever attained. Yet all these are carefully subor- 
dinated to the features, which are engraved with great 
delicacy and minuteness. 

‘As Edelinck passed from the scene, the family of Dr- 
veET appeared. . . . Less clear and simple than Nanteuil, 
and less severe than Edelinck, Przrre Drevet and his son 
PrERRE-IMBERT DreveET, gave to the face individuality of 
character and made their works conspicuous in art. If there 
was excess in the accessories, it was before the age of Sar- 


[14 } 


tor Resartus, and they only followed the prevailing style 
in the popular paintings of Hyacinthe Rigaud. Art in all 
its forms had become florid, if not meretricious, and the 
Drevets were representative of their age. Among their 
works are important masterpieces.”’ 


CHARLES SUMNER 


14 JEAN-Paut BIGNoN 
After Hyacinthe Rigaud 
Firmin-Didot 22 
Second State of five, before the plate was reworked, 
making the personage older, and with the words 
Anno Aetatis 45. 


15 Puitippe V, Kinc oF SPAIN 
After Hyacinthe Rigaud 
Firmin-Didot 41 
First State, before the name and address of Bligny 
and before the supplementary plate below. 
The painting, by Hyacinthe Rigaud, was executed 
by order of Louis XIV a few days before the departure 
of Philippe for Spain, and is now in the Louvre. 


16 ANDRE-HERCULE DE FLEURY 
After Hyacinthe Rigaud 
Firmin-Didot 48 
Third State, with the date 1730 
Cardinal, Minister of State. 


17 Louis pE France, Duc DE BouRGOGNE 
After Hyacinthe Rigaud 
Firmin-Didot 57 
Third State, with the name of the personage 
The costume and accessories were composed by Ri- 
gaud in 1706 especially for this engraving. 


[15 } 


18 Lou1ts-ALEXANDRE DE BourBON, COMTE 
DE TOULOUSE, DUC DE DAMVILLE 


After Hyacinthe Rigaud 

Firmin-Didot 64 

First State, with two anchors behind the coat of 
arms 

Admiral of France; legitimatized son of Louis XIV 
and the Marquise de Montespan. 


19 Lovis-ALEXANDRE DE BourBON, CoMTE 
DE TOULOUSE 
After Hyacinthe Rigaud 
Firmin-Didot 65 
Only State 
Governor of Brittany, Admiral of France. 


20 Lovis-Henr1, Duc pE BourBOoN, PRINCE 
DE Conp£, MINISTER OF STATE 
After Pierre Gobert 
Firmin-Didot 67 
Only State ‘‘Rare.’’ 


21 MARIE DE LAUBESPINE, MADAME LAm- 
BERT 


After Nicolas Largilliére 

Firmin-Didot 81 

Second State, with the address of Drevet 
Wife of Nicolas Lambert de Thorigny. 


22 LEONARD DE LAMET 


After Hyacinthe Rigaud 

Firmin-Didot 82 

Second State. The mis-spelling in the inscription 
corrected. 

Theologian, Curé of Saint Eustace, Paris. 


[16] 


23 Frizpricu Aucustus III 
After Francois de Troy 
Firmin-Didot 107 
First State 
Collection: Prince Repnine of Russia 
Elector of Saxony and King of Poland 1696-1763. 


24 HyacintHE Ricaup 
After his own painting 
Firmin-Didot 112 
Third State, of five, before the inscription below 
Engraved in 1714, after a study of the same size, 
painted in 1712. 


25 CraupE-Louis-Hector, Duc pE ViLLARs 
After Hyacinthe Rigaud 
Firmin-Didot 123 
Third State, before the inscription below was changed 
from nine lines to six lines. 


PIERRE-IMBERT DREVET 
1697-1739 


‘‘As Eprtincx passed from the scene, the family of Drevet 
appeared, especially the son, Pierre-Imbert Drevet, born 
in 1697, who developed a rare excellence, improving even 
upon the technics of his predecessor, and gilding his re- 
fined gold. The son was a born engraver, for at the age of 
thirteen he produced an engraving of exceeding merit. He 
manifested a singular skill in rendering different substances, 
like Masson, by the effect of light, and at the same time 
gave to flesh a softness and transparency which remain 
unsurpassed. To these he added great richness in picturing 
costumes and drapery, especially in lace.’’ 
CHARLES SUMNER 


{17} 


26 Jacques-BEéNIGNE Bossvu&t, BisHOP OF 


MeEavux 

After Hyacinthe Rigaud 

Firmin-Didot 12 

Fifth State 

Rigaud’s painting isin the Louvre. It was commenced 
in 1699, when Rigaud painted the head, but not com- 
pleted until 1705, after Bossuet’s death. 

‘The portrait of Bosswet has everything to attract and 
charm. There stands the powerful defender of the 
Catholic Church, master of French style, and most 
renowned pulpit orator of France, in episcopal robes, 
with abundant lace, which is the perpetual envy of 
the fair who look at this transcendent effort.”’ 

CHARLES SUMNER 


‘‘It was at twenty-six years of age that he engraved 
the marvellous portrait of Bossuet, one of the chefs- 
d’ceuvre of engraving. ‘One can desire nothing more 
able,’ cries Mariette, ‘than this admirable plate,’ 
and in fact it would seem almost impossible that the 
art of engraving could exceed such a pitch of perfec- 
tion. All the qualities of the engraver seem consum- 
mated in this superb plate: facility of execution, har- 
mony of figure, and above all exquisite distribution 
of light. One’s admiration for detail should cede, 
according to our idea, to the admiration compelled 
by the nobility of the ensemble.”’ 

Baron Rocer PorrTatis 


27 GUILLAUME DuBois, CARDINAL 
After Hyacinthe Rigaud 
Firmin-Didot 15 
Second State 
Of the first state two proofs only were known to Fir- 
min-Didot. 
[18 ] 


Born at Brives-la-Gaillarde, Sept. 6, 1656: died at 
Versailles, Aug. 10, 1723. Councillor of State 1715; 
negotiated the Triple Alliance, between France, Eng- 
land and Holland, in 1717; and was prime minister 
ii 1723. 
28 LouisE-ADELAIDE D’OrRLEANS 

After Pierre Gobert 
Firmin-Didot 18 
Only State | 
Collection: Prince Repnine of Russia . 
Mlle. de Chartres, Abbesse de Chelles, daughter of 
the Regent. 

.29 ADRIENNE LECOUVREUR 
After Charles Coypel 
Firmin-Didot 24 
Second State, of three, with the mis-spelling model 
for modele. 

“All this engraver’s works are so fine that it is not 
easy to designate the best; but his full-length por- 
trait of the eloquent Bishop Bossuet is a masterpiece; 
while still more interesting is that of the beautiful 
and ill-fated tragedienne Adrienne Lecouvreur, whose 
love for Marechal Saxe, and untimely death, are 
themselves a tragedy more affecting than any she 
simulated on the stage.”’ Frepericx Keppen 


GERARD. _EDELINCK 
1640-1707 
‘““TurNING to the France of two hundred and fifty years 
ago, we find Louis XIV on the throne, and Corneille, 
Racine, La Fontaine, and Moliére adorning literature with 
their splendid works, and we also find a school of engrav- 
ers who may well claim fellowship in genius with those 
immortal names. 
[19 ] 


“‘These eminent artists chiefly excelled in the delineation 
of the human face; never before nor since have such por- 
traits been produced. They are embellished with all the 
resources of the art. Many of those prints represent per- 
sonages who then filled a large place in the eyes of the 
world, but whose names are now only remembered in con- 
nection with their portraits; but we have also preserved 
to us the lineaments of men such as La Fontaine, Colbert, 
and Bossuet, whose places in the Temple of Fame are as- 
sured. Art at this period was elaborate and florid, as were 
literature, manners, and dress, and those engravers, to 
whom no technical difficulty was an obstacle, reveled in 
the reproduction of costumes and accessories. The person- 
age represented is usually resplendent with all the bravery 
of fur, lace, brocade, and velvet, while all the surround- 
ings are rich and gorgeous. 

“Of these engravers, GErarD Epexincx deserves a high 
place. Born at Antwerp in 1627, he was, while yet a young 
man, invited to Paris by Colbert, the great minister, who 
did so much to encourage art, and during the remainder 
of a life prolonged to eighty years he was identified with 
the French school. Edelinck was taken into the King’s 
service, had a pension settled on him, and later he re- 
ceived a patent of nobility. Of his numerous portraits, 
that of Philippe de Champaigne is allowed to be the finest; 
but there are others of great merit, such as that of his 
patron Colbert, Van den Baugart the sculptor, the archi- 
tect Mansard, Pierre de Montarsis, and Dilgerus.”’ 

FREDERICK KEPPEL 


“In comparing Nanteuil and Edelinck one finds that 
Edelinck’s work has certain qualities that Nanteuil lacks, 


[20 ] 


but these are always balanced by other qualities in Nan- 
teuil’s favor; in the essential ones Nanteuil is far superior. 
. . . His technical accomplishments are more varied than 
Nanteuil’s: he has a wider range of tones; his tones are 
sometimes deeper, more brilliant, livelier,—often softer 
and warmer than Nanteuil’s; his lines sometimes more 
delicately cut. But his lines are never as direct, as exprtes- 
sive;—he uses more lines with less result. In portraits he 
engraved not only the severer style of Philippe de Cham- 
paigne, but the large and elaborate compositions of Ri- 
gaud; not only busts but three-quarter length figures; and 
his plates range in size from these large plates down to 
plates that are almost miniatures.”’ T. H. THomas 


“Younger than Nanteuil by ten years, Gérard Edelinck 
excelled him in genuine mastery. Born at Antwerp he be- 
came French, by adoption, occupying apartments in the 
Gobelins, and enjoying a pension from Louis XIV. Longhi 
says that he is the engraver whose works not only, ac- 
cording to his own judgment, but that of the most intel- 
ligent, deserve the first place among exemplars, and he at- 
tributes to him all perfections in highest degree; design, 
chiaroscuro, aerial perspective, local tints, softness, light- 
ness, variety, in short everything which can enter into the 
most exacting representation of the true and beautiful with- 
out the aid of color. Others may have surpassed him in 
particular things, but according to the Italian teacher, he 
remains, by common consent, the ‘Prince of Engravers.’ 
Another critic calls him ‘King.’ It requires no remarkable 
knowledge to recognize his great merits. Evidently, he is 
a master, exercising sway with absolute art, and without 
attempts to bribe the eye with special effects of light, as 


on metal or satin. CHARLES SUMNER 


[21] 


30 JuLes-PauL DE LIONNE 
Robert-Dumesnil 247 
Second State, before the dedication was erased. 


31 CHarLeEs Mouton 
After Francois de Troy 
Robert-Dumesnil 281 
Second State, of five; with the first address: 
Known as ‘“‘Mouton the Lute Player,’’ musician to 
Louis XIV. Engraved in 1692, after one of the most 
beautiful paintings by Frangois de Troy. Mariette, 
who saw the picture in 1755, writes of it: ‘Mouton 
then was 64 years of age. The finest portraits by Van 
Dyck do not seem to me to be superior.”” 


FRANCOIS FORSTER 
1790-1872 


Born at Locle. A pupil, in Paris, of P. G. Langlois. In 
1814 he gained the Prix de Rome, and, after his return, soon 
gained a reputation, his numerous plates being remark- 
able for the skill with which he represented the original. 
He handled the burin with great ability, and his faculty 
of imparting both vigour and tenderness in the execution 
gives the whole a harmonious and beautiful effect. In 1844 
Forster was elected a member of the Institute of France, 
and the Academies of Brussels and Berlin. He died in 
Paris, 1872. 

‘Forster est l’un des graveurs les plus renommés du 
si¢cle. Les amateurs d’estampes éprouvés, les passionnés 
qui aimant la gravure pour la gravure, apprécieront tou- 


jours ses beaux burins. Henri Bératpr 


[22] 


32 La Vierce Axa LiGENDE 
After Raphael 
Béraldi 50 
Trial proof, before all letters. 


HENDRIK GOLTZIUS 
1558-1616 


‘Henprix Gorrzius was born at Mulbrecht in 1558. After 
studying engraving at home under Dirk Cornhett, he trav- 
elled through Italy and Germany and resided for a time 
at Rome, attracted by the works of Raphael, Michelan- 
gelo, and Caravaggio. Upon his return he settled at Haar- 
lem, where he died in 1616. Goltzius possessed great tech- 
nical skill, and when he overcame his tendency to exag- 
getation and mannerism he often produced works of ex- 
ceptional merit. Some of his large portraits are wonder- 
fully bold and free in treatment; in other prints the work 
is miniature-like in its refinement and delicacy. Goltzius 


had many followers.’’ Wiuus O. Cxapin 


“Goltzius has complete command of the whole gamut 
of technical expression. His portraits range in character 
from prints of the most minute hatching to others of the 
greatest breadth of line work. He was, perhaps the first 
adequately to realize the capabilities of the engraver in 
expressing tone and surface qualities.’’ 


Artuur M. Hinp 
‘His prints show mastery of the art, making something 
like an epoch in its history. His unwearied skill in the use 


of the burin appears in the tradition that, having com- 
menced a line, he carried it to the end without once stop- 


[ 23 } 


ping, while the long and bright threads of copper turned 
up were brushed aside by his flowing beard, which at the 
end of a day’s labor so shone in the light of a candle that 
his companions nicknamed him ‘the man with the golden 


beard. CHARLES SUMNER 


33 Henri lV, KiNG OF FRANCE AND 
NAVARRE 


Before the erasure of de la Heuve’s address 
Duplicate from the National Museum, Stockholm 


ISIDOR STANISLAS HELMAN 
1743-1806 
Purit of J. P. Le Bas. 


34 Lz JARDINIER GALANT 


After Pierre Baudouin 
Béraldi 1 
Proof before all letters. 
“Le Jardinier Galant, gravé d’aprés Baudouin en 1778, 
est une des bonnes éstampes d’Helman.”’ 
Henri BERALDI 


DESIRE ACHILLE LEFEVRE 
1798-1864 
Born in Paris 1798. Died 1864. One of the foremost French 
line-engravers of the nineteenth century. 


35 SAINT CECELIA 
After Raphael 
Béraldi 13 
Proof before letters, with names of painter and en- 
graver in scratched letters. 


[ 24 ] 


JOHANN AUGUST EDUARD MANDEL 
1810-1882 


Born at Berlin 1810. A pupil of Buckhorn, and an en- 
gtaver in pure line. In 1837 he became fellow of the Berlin 
Academy, and in 1842, after a visit to Paris, was appointed 
Professor of Engraving. He was a frequent exhibitor at 
the Salon, where he obtained all the regulation honors. 

Shortly before his death Mandel is reported to have 
said,‘‘When I die there will be no more.”’ 


36 CHares 1, K1nc or ENGLAND 
After Van Dyck 
Proof before letters; the engraver’s name below in 
scratched letters. 


37 La Betta 


After Titian 
Remarque proof, before all letters. 


ANTOINE MASSON 
1636-1700 

“‘ANTOINE Masson was born in 1636, six years later than 
Nanteuil. For brilliant hardihood of line Masson is con- 
spicuous, but, in his larger portraits especially, his very 
ability defeated its object, for he made the accessories so 
brilliant as sometimes to call the eye away from the fea- 
tures themselves. One of his smaller portraits, however— 
that of Brisaczer, known as the ‘Gray-haired Man,’—ranks 
as a masterpiece; while it is a marvel of technical skill, it 
is at the same time free from the bizarre effect of some of 
his life-size heads.’’ FrepEerick KEpPEL 


[25 } 


38 GUILLAUME DE BrIsAcIER 


Robert-Dumesnil 15 
Second State, of four; with two mis-spellings in the 
inscription 
Collections: Chevalier de Franck; Comte O. de Be- 
hague 
‘‘L’un des chefs-d’ceuvre du maitre.” 
Rosert-DuMESNIL 


‘‘Masson’s undoubted masterpiece, however, from 
an artistic as well as from a technical standpoint, is 
his beautiful portrait of the Queen's secretary, Bri- 
sacier, called the ‘Gray-Haired Man,’ a masterpiece of 
engraving, and a worthy companion to Nanteuil’s 
Pompone and Edelinck’s Philippe de Champaigne.”’ 


Wixus O. CuHaPin 


39 Marin CuREAU DELA CHAMBRE 


After Pierre Mignard 
Robert-Dumesnil 24 
Physician to the King. 


40 Henri DE Lorraine, ComTE D’ Har- 
COURT 


Robert-Dumesnil 3 4 
First State 


‘Henri de Lorraine, Comte d’ Harcourt, known as Cadet 
& la Perle, from the pearl in the ear, with the date 
1667, is often placed at the head of engraved por- 
traits. The vigorous countenance is aided by the 
gleam and sheen of the various substances, entering 


into the costume.”’ CHARLES SUMNER 


[ 26 } 


RAPHAEL MORGHEN 
1758-1833 


‘‘PROBABLY no engraver has had so large a following as 
Rapuaret Morcuen. This is partly due to his soft and cap- 
tivating style and partly to his excellent judgment in the 
choice of subjects. Morghen has preserved to the world 
the almost extinct glories of Leonardo da Vinci’s Last 
Supper in a plate which alone would have made the repu- 


tation of any engraver.”’ Freperick Keppen 


41 MADONNA OF THE GOLDFINCH 


After Raphael 
Proof before all letters 


JOHANN GOTTHARD VON MULLER 
1747-1830 


“Born at Bernhausen, in the duchy of Wiirtemberg, in 
1747. He was favoured with the protection of the Duke 
Karl Eugen, by whose aid he studied painting and design 
for six years, and was sent to Paris in 1770, where, in 1772, 
he becatne a pupil of J. G. Wille, and began to engrave. 
His talents procured him his reception into the Academie 
in Paris in 1776. He soon afterwards returned to Stutt- 
gart, where, by order of the Duke, he founded an Academy 
of Design, of which he was a professor during 1776-94, 
and subsequently director. He died at Stuttgart in 1830. 
Miiller did not produce many important plates, but at his 
best is a very sympathetic engraver—far more so than 
Wille. He had little or none of Wille’s passion for tech- 
nical feats,—though at his best he is quite as skilful as 
Wille. His heads have more depth of character; his tone 


{ 27 | 


is more sympathetic; he is a more sensitive draughtsman; 
—and in short far more of an artist than Wille.”’ 


T. H. THomas 


42 MapaME ViG£E-LEBRUN 
After her own painting 
Proof before all letters 


43 SAINT JOHN THE EVANGELIST 
After the painting by Domenichino 
Andresen 6 
Fifth State, before any inscription 

“T do not find in all art a portrait, so admirable in 

form, so perfect in its light and shade, so beautiful 
in expression, the tones of which are so softly 
blended—that is so free from engraving artifice—as 


this. GriusEpPE LoNGHI 


ROBERT NANTEUIL 
1630-1678 
‘‘NotHinc more admirable has been done in the realms of 
engraving than these quiet prints, in which there is no 
affectation, no parade of technical brilliance, and it is a 
question whether anything more sincere has been accom- 
plished in the history of portraiture. The portraits of 
Nanteuit take their place with perfect dignity alongside 
of the subtle crayon portraits of the courtiers of Henry 
VIII, at Windsor Castle, and the exquisite drawings of the 
courtiers of Francis I and Henry I], which alone would 
make Chantilly worthy of a pilgrimage. Nanteuil’s draw- 
ing is perfect and his massing of tones masterly; his ex- 
pression of texture has both realism and breadth, and his 
indication of skin, by means of a system of very close and 


[28] 


delicate short strokes, is an admirable solution of a prob- 
lem which had been the despair of the entire school.”’ 


Louis R. MetTcALFE 


‘““But—admirable as is Nanteuil’s technique, and im- 
portant as it is in the history of engraving—it is not as a 
technician that he has the greatest claim to fame,—but as 
an original artist. Nanteuil, indeed, has never come into 
his own in the annals of French art. He is not only the 
finest of French portrait engravers, but one of the masters 
of French portraiture. His work has all the characteristic 
French qualities: its sense of style, its measure and bal- 
ance, and its highly intellectual quality. ... Among 
French portrait painters he is unsurpassed as a draughts- 
man, and in certain supreme qualities of the portraitist— 
in depth of character, in reserve and repose, and above all 
in probity, very few of them can claim torank beside him.”’ 


T. H. THomas 


44 FrepERic-MauRIcE DE LA TouR 
D AUVERGNE, Duc pE BovILLOoN 


Robert-Dumesnil 49 

Third State 

Elder brother of the great Turenne. Born at Sedan, 

October 22, 1605. Died at Pontoise, August 22, 1652. 
‘The Duke de Bouillon was a man of experienced val- 

our and profound sense. I am fully persuaded, by 

what I have seen of his conduct, that those who cry 

it down wrong his character; and it may be that 

others had too favourable notions of his merit, who 

thought him capable of all the great things which 


3 9? 
he never did.””  Memorrs or CARDINAL DE RETz 


[29 ] 


45 Jean-Baptiste CoLBERT, CONTROLEUR 
GENERAL DES FINANCES 


Robert-Dumesnil 71 
First State 
Collection: Pierre Mariette, 1660. 


‘In spite of his many errors, Colbert raised France to 
the first rank among commercial nations. He in- 
creased her wealth, he successfully established man- 
ufactures, he raised the credit of the nation. In 1678 
Sir William Temple was much impressed by the 
wealth and prosperity of France, and this was en- 
tirely due to Colbert. He may have seized every op- 
portunity for personal advancement, but France 
profited immensely from his administration. He was 
distinctly a statesman, for he conceived a magnifi- 
cent and at the same time a practicable scheme for 
making France the leading power among European 
ttations. And he was above all admirably suited to 
Louis XIV. Like his master, he had a matchless 
faculty for work, not scorning the smallest details, 
nor shrinking from the vastest undertakings. To his 
ability, energy, and laboriousness he owed a position 
for which he was admirably adapted. To Colbert 
Louis was indebted for much, if not all, of the suc- 
cess of his enterprises during the twenty-five years 
succeeding Mazarin’s death.”’ 


Artuur Hassauu, Lowis XIV 


46 JEAN-BAPpTISTE COLBERT 
After the painting by Philippe de Champaigne 
Robert-Dumesnil 72 
First State, of three. ‘‘Rare”’ 
Dated 1662 
Collection: Ambroise Firmin-Didot. 


[30 | 


47 BasiLE FouqQuet 
Robert-Dumesnil 97 
Only State 
Engraved in 1658 from Nanteuil’s own drawing 
from life. 


‘Basile Fouquet, brother of the great Surintendent 
des Finances, Nicolas Fouquet, was at that time the 
head spy of Mazarin as well as the chancellor of the 
orders of the King and the most accomplished ras- 
cal, who ever fished in troubled watets.”’ 


Louis R. MrercaLFe 


48 Nicoutas FouqueEt 
Robert-Dumesnil 98 
Second State, of six 
Dated 1661 
Collection: Fritz Rumpf 


Nicolas Fouquet, Marquis de Belle-Isle, was Super- 
intendent of Finance (1652-1661) in spite of the fact 
that he was also Procureur Général of the Parle- 
ment de Paris. In 1664 he was accused of corruption 
and dishonesty in the management of the finances, 
of appropriating to himself public money, of prepar- 
ing to revive civil war in France, and for that pur- 
pose of fortifying Belle-Isle. The charges of treason 
were absurd, of dishonesty most probably true. 
Judged by modern standards, Mazarin was as guilty 
as Fouquet. The whole financial system was rotten 
and remained so, with intervals of improvement, 
until the Revolution and after. 

In building his palace at Vaux, today Villars, Fou- 
quet expended eighteen million francs of the money 
of his time. This would be equivalent to 36,000,000 
francs at the present time. Even after his arrest he 
was able to lend the king 2,000,000 francs. He was 


{31} 


C4 


in the habit of playing for very high stakes, and 
often lost 100,000 crowns at a single sitting. Never 
was a squanderer of the royal resources more noble 
and more generous than this superintendent, never 
was a man highly placed who had more personal 
friends, and never a man persecuted who was better 
served during the time of his misfortune. Condemned 
by a commission in 1664 to perpetual banishment, 
he died in obscurity in 1680. After his disgrace the 
place of superintendent was suppressed. 


“Of the three ministers to whom Louis had openly 


¢ 


given his confidence, Lionne, Le Tellier, and Fou- 
quet, the last named was the only one who possessed 
the qualities necessary for a Prime Minister. 

‘It was generally believed,’ says Madame de La Fay- 
ette, ‘that the Superintendent would be called upon 
to take the Government into his hands.’ There is no 
doubt whatever that Fouquet himself expected even- 
tually to succeed Mazarin. He did not believe in 
Louis’ perseverance; he was convinced that in a few 
months the King would gladly delegate his power 
to a minister. What rival had Fouquet to fear? He 
was well aware of his intellectual superiority to Le 
Tellier and Lionne; he had already been entrusted 
with important matters touching not only the in- 
ternal condition but also the foreign relations of 
France; he had frequent confidential interviews with 
the King. His relations, too, with the Court gave 
him every confidence. The number of his friends and 
clients and pensioners was enormous; he was fa- 
youred by the Queen-Mother; in the Council itself, 
though Le Tellier might be hostile, Lionne was 
practically in his pay. 


“His way seemed so clear, the confidence of the King 


so assured, that Fouquet neglected to take any pre- 


[32] 


cautions, and believed that within a very short time 
he would be at the head of affairs. 

“The trial of Fouquet was a seventeenth-century War- 
ren Hastings trial. It was necessary to make an ex- 
ample in the case of the French Finance Minister as 
it was in the case of the Indian Governor-General. 
Had Fouquet been proved innocent it would have 
been difficult, if not impossible, to punish smaller 
men, or to annul the ruinous engagements into which 
he had entered. Louis, moreover, simply dared not 
allow Fouquet to be at large. He feared that the 
powerful and captivating minister might somehow 
interfere with his scheme of governing France after 
his own method. 

“‘The fall of Fouquet marks an epoch in the history of 
France. The reign of Louis XIV really began from 
the date of the Superintendent’s arrest. The fall of 
Fouquet was not the fall of an ordinary minister, it 
was the fall of a system of government which had 
lasted half a century. It was the end of the period of 
Richelieu and of Mazarin, of the Hétel de Rambouil- 
let and of Fronde, with all the intrigues and activi- 
ties of that time. Resistance to Louis’ scheme of 
government was now over. Henceforward he could 
exercise his power without control or interference.” 

Artuur Hassatx, Lowis XIV 


49 CHARLES DE LA Porte, Duc pE La MEIL- 
LERAYE 
From the painting by Justus 
Robert-Dumesnil 118 
Only State. Dated 1662 
Collections: Brentano-Birckenstock 
Ambroise Firmin-Didot 
Louis Galichon 


[33] 


Born 1602. Died at Paris, February 8, 1664. Peer of 
France, Marshal and Grand-master of the Artillery. 
His matshal’s baton was presented to him by Louis 
XIII in 1639, upon the occasion of the breach in the 
defenses of the town of Hesdin. He was a great mas- 
ter of artillery tactics, and was esteemed the great- 
est general of his time in the conduct of sieges. 


50 MicHEL LE TELLIER, MINISTER OF 
STATE 


Robert-Dumesnil 131 

Only State 

Dated 1659 

From Nanteuil’s own design from life. 

‘‘Piqued at some such treatment, De Noyers asked to 
be allowed to retire and the king, (Louis XIII), 
took him at his word. . . . His place was filled by 
Le Tellier, a man—the Venetian minister wrote— 
‘who depended upon Mazarin as day upon the sun." 
Le Tellier was destined to a long political career. 
Always capable, never ambitious, filling well the 
position in the affairs of state assigned to him, he 
died at 82, while Chancellor of France.”’ 


J. B. Perxins, France under Richelieu and Mazarin 


Michel Le Tellier, Chancellor of France, and Min- 
ister of State, was born at Paris, April 19, 1603, and 
died October 28, 1685, a few days after having signed, 
joyfully, the Revocation of the Edict of Nantes. To 
him the queen regent and Cardinal Mazarin gave 
their especial confidence, and upon the death of Ma- 
zarin in 1661, Le Tellier, together with Fouquet and 
Lionne, formed the inner council, with whom Louis 
daily from the hours of nine until eleven each morn- 
ing arranged the order of each day’s work. In 1666 


[34] 


he resigned his office as Secretary of State, in favor 
of his eldest son, the Marquis de Louvois, but still 
retained his seat in the council, and his title. The 
king, who held him in high esteem, made him Chan- 
cellor and Garde des Sceaux in 1677, which office, in 
spite of his advanced years, Le Tellier continued to 
discharge with great ability until his death in 168 $5 
regretted by the king and by all France. 


51 Nicoxas Potrer pz Novion, PREMIER 
PRESIDENT AU PARLEMENT DE Paris 
Robert-Dumesnil 207 
Second State 
Dated 1664 : 

Collection: Pierre Mariette, 1669 

From Nanteuil’s own design 

Born 1618. Was successively Conseiller au Parlement 
in 1637; President 4 Mortier in 1645; Secretaire des 
Ordres du Roi in 1656; President des Grands-Jours 
d'Auvergne in 1665; and finally Premier President 
au Parlement in 1678. He sold his office in 1689, and 
died in 1693. 


ANTONIO PERFETTI 
1792-1872 
Born at Florence 1792, and from 1818 onward was a pupil 
of Raphael Morghen. In 1828 he obtained the prize at the 


Florence Academy with his Sibyl of Cuma, after Guercino. 
He died in Florence in 1872. 


52 Tue SaMIAN SiByL 
After Guercino 
Proof before all letters 


[35] 


GEORG FRIEDRICH SCHMIDT 
1712-1775 


“Even before Scamipt (1712-1775) came to France he 
adopted the technique of the French engravers. In Paris 
he was first employed in the atelier of De Larmessin, but 
he seems to have followed no regular master but to have 
taught himself. He followed without any change what- 
ever the technique of the Drevets and with conspicuous 
SUCCESS.” T. H. Taomas 


53 Curist1an Aucustus III, DuxkE oF 
Saxony, KinGc oF POLAND 


After Antoine Pesne 
Collection: Rudolf Peltzer 


SIR ROBERT STRANGE 
1721-1792 


‘Tue greatest English classical engraver, Str RoBert 
SrraNGE, even if not an innovator in the matter of pre- 
liminary etching, was the first distinguished engraver to 
turn the practice into a convention. 

“‘Apprenticed to Richard Cooper in Edinburgh, he was 
practising engraving on his own account in that city at 
the time of the Rebellion of the Young Pretender. He 
joined the Jacobites, engraved a portrait of Prince Charles, 
is said to have fought at Culloden, and to have fled after 
the defeat to France. For some time he studied under Le- 
bas in Paris, returning to England about 1751. 

“On the accession of George III, in 1760, Strange left 
England to pass a few years in Italy. Until the last years 
of his life he was never in favour at Court; and at this par- 


[ 36 ] 


ticular juncture his refusal to engrave the King’s portrait 
may have advised a temporary retirement. He won great 
tepute abroad, became a member of the Academies at Rome 
and Florence as well as at Paris, and his prints after the 
great masters must have exerted a very considerable in- 
fluence on Italian engravers like Volpato and his followers. 
Strange’s most powerful and ambitious works were done 
in England during the last ten years of his life. One may 
mention in particular the Charles I, with James, Marquis of 
Hamilton, after Van Dyck (1782), the Henrietta Maria and 
two Children, adapted from Van Dyck (1784) and the Apo- 
theosis of the Princes Alfred and Octavius (1786). He stands, 
as Faithorne had done among the great portraitists, rather 
for irreproachable soundness and strength, than for any 
of the qualities of the great artist in engraving.”’ 


‘ Artuur M. Hinp 


54 Cuaruezs I, Kinc or ENGLAND, WITH 
Jamzs, Marquis or HAMILTON 
After Sir Anthony Van Dyck 
LeBlanc 45 
Proof before all letters and before the small trial 
scratches in the margins were erased. 


PAOLO TOSCHI 
1788-1854 
Paoto Toscui was born at Parma in 1788 and died there in 
1854. He was a pupil of Bervic in Paris and was also greatly 
influenced by the painter Gérardand bythe engraver Longhi. 
Returning to Italy, he became Professor of Engraving and 
Director of the Academy at Parma. Toschi achieved last- 


[37] 


ing fame by his engravings from the frescoes of Correggio 
and Parmigiano. 

‘‘The last of the great Italian engravers was Paolo Tos- 
chi, pupil of Bervic, who was himself a pupil of Wille. It 
remained for Toschi to discover in the lovely frescoes of 
Correggio, at Parma, a mine of the richest ore, which his 
predecessors for more than three centuries had scarcely 
touched. The Madonna della Scala, the Incoronata, and the 
pair of groups of cherubs may be cited as examples of what 
Toschi has done for Correggio—and for Art.” 


FREDERICK KEPPEL 


55 Maponna DeEtta SCALA 
After Correggio 
Remarque proof 
The most beautiful of all Toschi’s engravings. One 


of the few which he engraved entirely with his own 
hand. 


56 Maponna DELLA TENDA 
After Correggio 
Appel 2 
First State 
Proof before all letters. 


CORNELIS VISSCHER 
1629-1658 
‘In spite of the shortness of his career, CoRNELIS VISSCHER 
ranks among the most distinguished engravers of the seven- 
teenth century. His work with the burin is free from all 
conventionality in the arrangement of lines, and he unites 
etching and line engraving with a soft and harmonious 


[ 38 } 


effect, particularly in his own peculiar treatment of flesh 
and hair. Of Visscher’s prints, amounting to about two 
hundred in all, the best are his fine and spirited portraits 
of his contemporaries, particularly remarkable being that 
of the poet Vondel, and those known as ‘Tur Turer 
Brarps,’ De Bouma, De Ryck, and Scriverius.”’ 


F. Lippmann 


57 WILLIAM DE Rycxk 

Dutuit 115 

“But all yield to what are known as Tue Turex Bearps, 
being the portraits of William de Ryck, an ophthal- 
mist at Amsterdam, and of Gellius de Bouma, the 
Zutphen ecclesiastic. The latter is especially famous. 
In harmony with the beard is the heavy face, seventy- 
seven years old, showing the fulness of long-con- 
tinued potation, and hands like the face, original 
and powerful, if not beautiful.”’ 

CHArLEs SUMNER 


JOHANN GEORG WILLE 
1715-1808 
‘Born neat Koenigsberg (Grand duchy of Hesse), 171 - 
died in Paris, 1808. About the year 1736, in company with 
his countryman, Georg Friedrich Schmidt, he went to 
Paris to devote himself to engraving, an art which he 
greatly influenced. He soon received the favorable notice 
of Hyacinthe Rigaud, some of whose portraits heen graved, 
and, directed and advised by that master, rose rapidly into 
eminence, becoming the foremost engraver of his time. . . 
His prints bear dates from 1738 to 1790, after which time 
he became blind and impoverished during the Revolution 
. . . He was the teacher of Bervic, J. G. von Miller, Tar- 


[39 } 


dieu, and other eminent engravers, who in turn transmitted 
his instructions to their pupils, amongst whom were Des- 
noyers, Longhi, Toschi, Anderloni, and J. F. W. Miller.”’ 


Wiututs O. CHaPin 


58 Les Music1eENs AMBULANTS 
After Christian Wilhelm Ernst Dietrich 
LeBlanc 52 
Fifth State 
The original painting is in the National Gallery, 
London. 

‘‘His neat and careful style was adapted to pictures of 
the School of Gerard Dow, as well as to elaborate 
portraits, and there is no engraver whose works are 
more eagerly sought and more universally admired. 
A complete mention of the favorite prints by this art- 
ist would exhaust the entire catalogue of his works. 
His Satin Gown and the Travelling Musicians are his 
acknowledged masterpieces.’ 

FREDERICK KEPPEL 


59 Lz Concert DE FAMILLE 
After Godfried Schalcken 
LeBlanc 54 
First State, before all letters, with the coat of arms 
below, and the word Wille above. 


60 L’INstrucTION PATERNELLE 

After Gerard Terburgh 
LeBlanc $5 
Fourth State 

‘‘His mastership of the graver was perfect, lending 
itself especially to the representation of satin and 
metal, although less happy with flesh. His Satin 
Gown, or L' Instruction Paternelle, after Terburgh, and 


[40] 


Les Musiciens Ambulants, after Dietrich, are always 
admired. Nothing of the kind in engraving is finer. 
His style was adapted to pictures of the Dutch 
School, and to portraits with rich surroundings.’’ 


CHARLES SUMNER 


61 La Tricoteuse HoLLANDAISE 
After Mieris 
LeBlanc 64 
First State 
Proof before all letters. 


62 Cuarxues Louis AucustE FOUQUET DE 
BELuLe-IsiE 


After Hyacinthe Rigaud 

LeBlanc 120 

Third State, with the full inscription and the arms 
of the personage. 


[41] 


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